Sandra France: Fluctuating States of Calm

This is a wonderful collection of pieces for different ensembles, ranging from solo cello up to full orchestra. Sandra France’s works are deeply personal, lyrical statements drawing from a skilful use of resources and a favourable leaning on historical archetypes. There is a sense of playfulness never far from the surface in most of the works in this collection – playing with sound combinations, structures, and with melodic ideas.

The pieces draw inspiration from a range of sources – melodic fragments, structures, and instrumentation from Haydn, Brahms, Stravinsky, Shostakovich, and even Ligeti; development approaches from different periods pre- and post-20th century; folk tunes and nursery rhymes; and for one piece an Ives-like clash of marching band melodic and rhythmic fragments.

The disc opens with the Heritage Overture for orchestra, performed by the SSO under Colin Piper. Colourful orchestration, driving ostinati and dramatic use of percussion recall the optimism of Shostakovich’s Leningrad Symphony. With a nod to her heritage, France incorporates a Quebecois folk tune, Valse Frantenac, one of her parents’ favourite tunes. The piece has great appeal from its first hearing.

The pieces date from 1993, String Quartet, to the Three Miniatures for Piano Trio of 2002. It is the later pieces that I find most successful, perhaps showing the benefit of her studies with Dr Cindy McTee at the University of North Texas. I especially liked this last piece with its effective use of resources of the piano trio, clarity of development, and emotional impact.

Different pieces explore different moods – from the melancholy of the Duo for Flute and Cello and the introspection of the Three Miniatures, to the joyful and playful Miss Mugwort, a reflection on the joys of parenting her daughter Antoinette. This last piece incorporates the use of a toy whistle, playing a melody sung to Antoinette since birth, that recalls Ligeti’s use of ocarina in his late orchestral works.

The piece Kroger March is great fun, remembering the marching band practice which France saw and heard happening at all hours during her stay at UNT… ‘drum lines rehearsing in large car parks … and crazy wind players rehearsing their marching steps on football ovals very late into the night’. The piece features clashes of melodic and rhythmic sections of the ensemble, as Charles Ives was wont to explore. Performed by the Lawrence University Wind Ensemble, I hope the players recognized the irony!

This is a wonderful collection of pieces from an emerging composer. Her depth of knowledge and skill in the use of instrumental resources is evident but does not overcrowd a very personal lyrical and emotive expression. Highly recommended!